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Boxing and Self Defense 

i i i £o& 

taught by the 

Marshall Stillman Principle 



Copyright 1919 



Marshall Stillman Association 

461 Fourth Avenue, New York 



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©CI.A53615S 



This volume contains 

Page 

1. Five Sub-Conscious Lessons in Boxing 4 

1. The Hit 

2. The Guard 

3. The Duck 

4. Footwork 

5. Feiating and clinching 

2. One lesson for daily exercises 32 

3. Three rounds of shadow boxing 42 

4. Eight bone-breaking holds and re- 
leases, ( Jiu Jitsu ) 70 

for use against violent attack. 

5. Eight holds in standing wrestling. ... 82 

for use against violent attack. 

There is included with this course a separ- 
ate complimentary volume of Mike Don- 
ovan's famous book, "Science of Boxing" spe- 
cially bound for home study, including the 
rules and articles on training, generalship in 
the ring, and every good blow and guard 
known in boxing. 



MARSHALL STILLMAN has been a student 
of boxing for more than thirty years. He was 
a pupil and intimate friend of Professor Mike 
Donovan who retired undefeated middleweight 
champion of the world and who taught boxing at the 
New York Athletic Club for thirty years. 

Professor Mike Donovan thought so much of Mar- 
shall Stillman and the "Shorthand" or "Sub-Con- 
scious" Method of teaching Boxing that he heartily 
endorsed both, and posed for the illustrations in this 
book. This is Donovan's system of boxing taught by 
Marshall Stillman's principle of instruction. 

Marshall Stillman's interest in boxing and self- 
defense for the last ten years has been devoted largely 
to the development of this simplified system of in- 
struction. Anybody, young or old, can learn the rudi- 
ments of boxing and how to guard against attack, 
from this course. Boys of 12 and 15, have learned; 
men of 40 and 60 have learned, and what is more, 
they have benefited physically as a result. 

Marshall Stillman begins with the things you 
know, such as holding out your hand for a coin, the 
breast stroke in swimming, butting like a goat, etc., 
and the first thing you know, he has led you into 
striking correct blows, using proper guards, and par- 
ries, ducking scientifically, etc. 

You learn these fundamentals right in front of 
your own mirror, before you put on the gloves with 
anyone else. After you have learned the principles, 
you are then ready to put on the gloves with some- 
one else, and profit by your study. 

You can readily understand why it is difficult 
under the old method to learn boxing. Your op- 
ponent usually knows far more than you, and instead 
of helping you, he hinders you, because his superior 
knowledge confuses you and makes it difficult to 
learn. By the Marshall Stillman method, you learn the 
principles and rudiments and when you face your first 
opponent, you know what to expect and how to guard 
against it. And you know how to hit him effectively. 
After all the "proof of the pudding" is the amusing 

2 



and interesting, but nevertheless important letters we 
get week after week, from men and boys, who say 
"Last week I licked or out-boxed a fellow that I had 
just been dying to get at for a year." Sailors in the 
Navy and soldiers in the Army have taken the course 
by the hundreds — so that they could hold their own. 
Others have taken the course just for the Jiu Jitsu 
and standing wrestling holds, so as to be prepared 
against violent attack. 

Anyone of a dozen things in this course may be 
worth $50 or $100 in a crisis, because after all, when 
unexpected attacks come, it isn't just a question of 
how brave you are, nor a question of how strong you 
are, but rather, do you know how to box? do you 
know how to defend yourself against a kick for the 
stomach, how to break a hold on the throat, how to 
disarm an opponent? 

You cannot get all the good out of the lessons by 
doing them once. Go over them repeatedly. The 
benefit physically alone justifies repetition, but aside 
from that, you will learn something every time you 
do one of these lessons, and you will keep yourself 
from forming bad habits — twisting the fist the wrong 
way, using the body weight the wrong way, striking 
the wrong kind of blow, or departing from the right 
guard — so do them repeatedly. 

Incidentally, the course will help you mentally. 
It will give you confidence, courage, self reliance in 
"competition", not only in boxing, but in contact with 
big men. Everybody likes a man who is sure of him- 
self, and the ability to box — to hold your own with 
somebody bigger if necessary — certainly does make 
you feel sure of yourself. 

Stand the course right up in front of you on your 
bureau. The type is big enough to read at a distance 
of several feet, and the pictures are as plain and clear 
as can be made — Mike Donovan posed for those in 
the Sub-Conscious Lessons, and for those in his own 
book, of course — and the world has never known a 
greater teacher of boxing and self-defense than Pro- 
fessor Mike Donovan. 



Fig. 1. Turning: Allow the arms to swing out loosely in the air. Do 
not sway the body either forward or backward. Turn the shoulders first 
to the right and then to the left. 




Fig. 2. Turning (Cont'd): This is the other half of the movement in 
Fig. 1. There is no change in the position of the feet or head. The arms 
and shoulders have simply swung around, as you can see. 



First Lesson — The Hit 

Stand before your looking-glass with your 
feet squarely on the floor, toes pointing 
straight forward and arms loosely hanging at 
your sides. Feet about 12 to 18 inches apart, 
and toeing a line. 

Imagine a rod run through the top of the 
head down the spine and into the floor, and on 
this rod you are to turn, not swaying either 
forward, backward or sideways. Now turn on 
this rod, allowing your arms to swing out 
loosely in the air (as in Figs. 1 and 2). 

Watch yourself carefully in the mirror that 
you do not permit your body to sway. 



After you have continued this exercise a 
sufficient length of time so as to get the turn 



Continued on Page 6 




Fig. 3. While twisting the shoulders first one direction and then the other, 
but without swaying the body, bring the arms to this position so that the 
elbows are against the ribs, the hands out with palms up. Keep turning. 

well in your mind, then bring your arms to 
your sides bent at the elbow with your hands 
open, continuing to turn. Elbows in close to 
the sides (as in Fig. 3). 

Now as you turn, reach out straight in front 
of you. Right straight toward your hand that 
is reflected in the mirror with the palm of your 
hand up as if you were to receive a coin 
dropped in your hand. Be sure that you have 
your elbows in close to your sides and that 
your hands go directly for the mirror in a per- 
fectly straight line, (as in Figs. 4 and 5) con- 
tinuing to turn on this rod supposed to be 



driven through the body from the top of the 
head into the floor. Continue this exercise un- 
til you have it well fixed in your mind. 

Now clench your fist. Be sure that the pro- 
pulsion of the blow comes from a twist of the 
body. If you have followed the directions 
carefully you will find that you are now deliv- 
ering a perfectly scientific blow with both 
hands. The propulsion comes from a twist of 
the body. Back of the hand is toward the floor. 
Be careful that the elbows come back closely 
to the sides. Continue this motion as vigor- 
ously as you please. You will find it a most 
excellent exercise for the vital organs and it 
will also get you in the way of delivering a 
very powerful blow. 




Fig. 4. Turn well around and reach far out directly towards your mirror 
with the left hand just as though you were reaching for a coin. Then bend 
the arm back to the position in Fig. 3. 




Fig. 5. The same movement as in Fig. 4, but with the right hand. Keep 
turning without swaying, reaching out first with the left and then with the 
right, returning first one and then the other arm to the position in Fig. 3. 

7 




Fig. 6. Clench the fists. Now strike. As you turn give a snappy twist to 
the body. Don't shove or sway forward, just twist. 



The way to make a Fist 

Double the fingers in the palm of the hand, not squeezing them 
tightly into the palm, and especially do not draw down the little 
finger; in placing your fist on a bureau as you stand by it, with the 
arm hanging at the side, the big knuckles of the hand should be the 
only point of contact. This you will see will describe a straight 
line from the big knuckle up the wrist, up the forearm, to the 
elbow. This is the correct way of making a fist. Any other way 
is wrong and liable to cause a fracture of the wrist if the blow 
should be delivered with too much force. The thumb should 
always be wrapped over the second joint of the fingers. 

9 



Change of Position 

Left foot flat on the ground with the heel 
down. Right foot with the heel raised and toe 
pointed at the looking-glass. Right foot in the 
rear with space enough to retain the balance 
of the body. Toes pointed toward the looking- 
glass. Weight of the body directly over the 
left foot. Imagine a rod passing through the 
left leg, through the body, and on that rod you 
must turn. The right foot should rest upon 
its ball with the heel about two inches from the 
ground. Now continue the straight blow 
which has just been described, turning on this 
imaginary rod obtaining the propulsion from 
the waist and the push of the right foot (as in 
Figs. 7 and 8). 

Continue this exercise until thoroughly sat- 
isfied that you understand it. You will find 
that you are enabled through this method of 
getting the force of the blow from the turn of 
the body and delivering a left hand blow 
scientifically and easily, which is, for a right- 
hand man, a very difficult trick to acquire. 



Note — These blows with the left hand and with the right hand, 
which have just been described, are known as the straight blows, 
and the only proper method of delivering a straight blow is with 
the elbow in close to the side and the back of the hand parallel 
with the floor. Never permit the elbow to be raised in the air 
when delivering a straight blow. 

10 




Fig. 7. Change of position. Left foot flat on the ground with heel down. 
Right foot ivith heel raised and toe pointed at the looking glass. Right 
foot in rear with space enough to retain the balance of the body. Toes 
pointed toward the looking glass. Weight of body directly over the left 
foot. 




Fig. 8. Continue the straight blow, obtaining the propulsion from the 
waist and the push of the right foot. 

11 




Fig. 9. Swinging Blow — Assume the original position of feet about 12 to 
18 inches apart. Elbows bent and at the sides — PALMS OF THE 
HANDS DOWN; fist clenched; blow to be delivered with the index 
knuckle or the first two knuckles, swinging the body and hitting with a 
sort of a rotary motion of the arms. 

Swinging Blows and Corkscrew Blows 
Assume the original position of feet about 12 
to 18 inches apart. Elbows bent and at the 
sides — palms of the hands down; fist clenched; 
blow to be delivered with the index knuckle 
or the first two knuckles, swinging the body 
and hitting with a sort of a rotary motion of 
the arms (see Fig. 9). 

This is the swinging blow. In thai blow yon 

dispense with the idea of the rod running 

through the body, as each blow with the left 

and with the right hand is done with a swaying 

12 



motion. This is a very good exercise for the 
waist and will give great elasticity and strength 
to that portion of the body. 

Continue this exercise until you desire to 
cease. 

The Corkscrew blow is delivered with the 
left hand well out with the back of the hand 
almost parallel with the floor. A straight blow 
delivered with this arm with a sudden twist of 
the hand so that the first two knuckles reach 
the point of contact with a snap has a cork- 
screw effect, and if landed on the point of the 
jaw is a serious blow. 



13 




Fig. 10. Bring the hands well up to the chin, throwing them out in front 
of you as in the breast stroke. 

Second lesson — The Quard 

Take the first position as described in the Hit 
in front of the mirror with feet 12 to 18 inches 
apart, toes pointed toward the mirror and feet 
parallel with each other. Make the motions 
of the breast stroke in swimming, bringing 
your hand open well up to the chin (Fig. 10"), 
throwing them out in front of you (Fig. 11) 
then sweeping them to your side (Fig. 12). 
Continue this motion until you get the idea 
perfectly in your mind. Be sure that your 
hands at the outward stroke go a little above 
the head. This is an exaggeration of Prof. 
Donovan's famous leverage guard. 

14 




Fig. 11. Be sure the hands run up above the head as they are extended. 




Fig. 12. Sweep the arms to the sidesas in the breast stroke in swimming 

15 




Fie 13 Second position. Left foot forward, right foot back. Both toes 
pointed toward the mirror. Continue the breast stroke, not with the 
hands in unison, but with the hands going alternately forward. 

Now assume the second position, which is 
with the left foot forward and the right back. 
Both toes pointing toward the mirror. Con- 
tinue the breast stroke as in swimming, but not 
with the hands in unison, but the hands alter- 
nately going forward (Fig. 13). Be sure that 
the hands run up above the head as they are 
extended. You will find that your hands are 
performing a sort of a circle or an ellipse as 
the shape of an egg. 

Keep the hands open, running them well 
out in front, bearing in mind always the breast 
stroke in swimming, which is performed iden- 
tically as the leverage guard only not so exag- 

16 




Fig. 14. With left elbow to side, and left fist prepared to strike, twist the 
body sending the fist toward the looking glass. 

gerated, and there you will have the celebrated 
Donovan leverage guard. 

Now with the left elbow to the side and left 
fist prepared to strike (Fig. 14), twist the body, 
sending the left fist towards the looking-glass. 
Be sure that the propulsion comes from the 
twist of the body, right hand alternately per- 
forming the guard with hand open, palm 
down. There you will have an exercise which 
Prof. Donovan gave his pupils which is called 
the lead, guard; lead, guard; lead, guard; lead, 
guard; lead, guard. 



17 




Fig. 15. Blocking. To block a swing, just move the arm to the right or 
left arm to the left, with the hand open, palm toward the looking glass; 
forearm almost straight up in the air being parallel with the body. 
Elbows dozen. 

Blocking 

Blocking a blow is done with the right elbow 
close to the side, naturally, not constrictedly ; 
hand open, and palm forward; forearm almost 
parallel with the body. To block a swing, just 
move the arm to the right or the left arm to the 
left with the hand open, palm toward the look- 
ing-glass; forearm almost straight up in the 
air being parallel with the body. Elbows 
down (see Fig. 15). This is the block and is 
easily performed. 

Always guard a blow with the hand open, 
as the length of the fingers give so much more 
opportunity to guard the blow. 

IS 




Fig. 16. Stomach Guard. Swing the left forearm over the pit of the stom- 
ach at the same time crossing the right hand over near the face so as to 
prevent or guard against a right hand swing for the jaw. 

Guard the Stomach 
Assume the position of a boxer, which is 
with the left hand prepared to strike; the right 
hand open and in front of the face; eyes just 
looking over the top of the glove or hand. 
Now swing the left forearm over the pit of the 
stomach at the same time crossing the right 
hand over near the face (as in Fig. 16) so as 
to prevent or guard against a right hand swing 
for the jaw. 

You will find that you can swing this left 
forearm over the pit of the stomach very quick- 
ly and it is the best guard for the stomach and 

19 



prevents much severe punishment. Learn this 
guard faithfully, as it will save you many a sad 
moment if you have an opponent who is a body 
puncher. You will find it will be very difficult 
for him to reach the body with this guard. 



A Fancy Guard 

Catch the left lead of the opponent with the left hand open, 
pushing it across your face to the right, catching the opponent's 
left lead as it approaches the point of contact. This will often 
throw the opponent off his balance and leave him open to attack. 
The same can be done with the right hand on the left lead, also 
catching the left lead as it approaches the face and throwing it 
with the right hand across the face and pushing it toward your 
left side. 

20 




Fig. 17. Assume the attitude of a goat bucking, and you will get the 
correct position for the duck. 

Third lesson— The "Ttuch^ 

Standing in front of the mirror in the first 
position with feet from 12 to 18 inches apart 
parallel pointing toward the mirror, hands at 
the side slowly draw the chin down toward 
the right collarbone, presenting the side of the 
frontal bone of the head to the mirror (as in 
Fig. 17). Be sure that the head is not turned 
too much to one side, leaving the ear exposed. 
That is a dangerous procedure, as a blow on 
the ear is even more disastrous than a blow on 
the nose, but if you will bear in mind to assume 
the attitude of a goat butting you will get the 
correct position of the duck. 

21 




Fig. 18. Be sure the head is not turned too much to one side, leaving the 
ear exposed. 

Now looking at yourself in the mirror draw 
your chin slowly down to the left collarbone, 
(as in Fig. 18) again being certain that the 
right ear is not too much exposed, but that the 
part of the head where the horns of the goat 
would naturally be is presented toward the 
mirror. 

Be careful not to present the top of the head 
to the mirror. The blow, if it reaches the 
head, will glance off, but as a rule the blow will 
slip by without touching the head, because the 
least change of the head will cause it to evade 
the blow. In other words, the attitude is of a 
goat preparing to butt. 

22 



Fig. 19. Draw the chin down to one side. This protects the jaw and 
saves the nose, too. 

Remember always to keep the chin down. 
Even when facing the mirror or opponent, 
keep the chin down, and if you cannot look 
your opponent in the eye with your chin down, 
look at his shoulders or even at his waist-line, 
and you will be perfectly able to note the direc- 
tion of his blows. Some expert boxers even 
look at the floor to the right, which is their 
opponent's left side (as in Fig. 19). This is 
often disconcerting to the opponent, should he 
be used to looking in the eyes of the man with 
whom he is boxing, it upsets him not to be able 
to look in the eyes, and yet if you get yourself 
accustomed to this direction of your gaze, you 

23 



will be able to note the manner and speed of 
your opponent's blows as easily as if you were 
looking in his eyes. 

We wish to again caution you with regard 
to always keeping the chin down. It would be 
exceedingly difficult to knock a man insensible 
with his chin down, whereas if he holds his 
chin up a forceful blow on the jaw would re- 
sult in a knockout and this can be easily avoid- 
ed by keeping the chin down and well drawn 
into the neck. 

Always hold chin down and head in posi- 
tion of butting goat on delivering every blow. 
This prevents receiving blow on the nose. 



Note. — The duck seems to be a lost art among boxers. Few 
of the experts are masters of this fundamental. It is laughable to 
sit at a ring-side and notice the amateurs and professionals who box 
for prizes and money stand up and take all the blows that are 
coming their way; on the nose or in the face, seemingly never 
thinking of ducking. Cauliflower ears, broken noses, blackened 
eyes, scarred faces, a generally battered-up condition of the physiog- 
nomy is the result. These marks of a boxer are seldom seen on 
the faces of the experts. The early fighters with bare knuckles 
often carried scars on their faces, especially their foreheads, where 
they endeavored to break the knuckles of the opponent by the hard 
frontal bone of the head. Cauliflower ears and broken noses do 
not speak well for a boxer, as it generally indicates lack of science. 

There is only one scientific way of ducking. There are several 
ways that are decidedly unscientific. To those ways we will not 
call attention, but will dwell upon the proper method of ducking. 

24 




Fig. 20. Perform a sort of clog dance, throwing the weight of the body 
first on the left foot and then on the right, bearing in mind the looseness 
of the clog dancer. 

Fourth lesson — Footwork^ 

Assume an easy attitude before the mirror, 
with the hands loosely at the side, and perform 
a sort of clog- dance throwing the weight of 
the body first on the left foot and then on the 
right, (as in Figs. 20 and 21). Perform this 
motion for an agreeable length of time. Re- 
member the body must be absolutely lax in 
every muscle, just like a wet rag. 

Footwork is the fourth fundamental of Box- 
ing, and one which is but little understood. 
Only the top-notchers are experts in this de- 
partment of the manly art, and even some of 

25 




Fig. 21. The body must be absolutely lax in every muscle. 

the experts are deficient in the scientific method 
which should be pursued. The mental picture 
which is an exaggeration of the attitude of a 
Boxer, is that of a Clog Dancer or Marionette. 

Discontinue the motion of the clog dancing, 
and stand before the mirror; place your left 
foot, the toe pointing toward the mirror, flat 
on the ground, heel down, right foot conveni- 
ently placed to the rear, resting on the ball of 



Note — The Boxer must be perfectly loose in his joints. Box- 
ing should be done literally by foot work, and not by leg work. 
Most boxers use leg work and not foot work, often throwing most 
of the weight of the body upon the right leg, which strains it badly, 
and as the contest progresses makes the boxer very slow in his 
movements, as it tightens the muscles of the right leg in a con- 
stricted manner. 

26 




Fig. 22. Assume the attitude of a boxer. Move in a sort of gliding mo- 
tion, with the right foot always behind the left, the left foot always flat 
on the ground. 

the foot with the heel slightly raised from the 
ground, weight well forward on the left foot. 

(as in Fig. 22). 

Assume the attitude of a boxer; now move 
around the room in a sort of gliding motion 
with the right foot always behind the left, the 
left foot always flat on the ground. You need 
never be on the toe of the left foot unless a blow 
is being delivered. This will never weary one, 
and if the propulsion comes from the ball of 
the right foot, and the twist of the waist, you 
will find that a blow is very swiftly and power- 
fully delivered and can also be gauged as to its 
intensity with great accuracy. 

27 




Fig. 23. Feinting. A little quick bend of the left knee, and possibly 
accompanied with a bend of the right knee at the same time. 



Feinting — The most effective and least tir- 
ing way of feinting is with a movement of the 
left knee; just a little quick bend of the left knee 
and possibly accompanied with a bend of the 
right knee at the same time. Both being very 
slight, but very quickly executed, immediately 
ties an opponent up in a knot, as he will expect 
to receive an assault. 

This style of feinting does not tire one in the 
least, and if done occasionally, or as often as 
the boxer wishes, will tire in a marked degree 
the opponent, especially if he be not in good 
condition. 

28 




Fig. 24. Permit your antagonist to clinch you around your neck, leaving 
your arms free, and then with your arms devote all your attention to his 
body. 

Clinching — This is a department of the 
sport which should be done scientifically and 
as a method of protection. If it be not neces- 
sary to protect yourself by clinching, it is by 
all means advisable not to clinch, but permit 
your antagonist to clinch you if possible 
around the neck (as in Fig. 24), leaving your 
arms free, and then you with uppercuts, devote 
all your attention to his body. Both hands 
free. This attitude is according to the rules of 
Boxing, perfectly fair and square. 

A great deal of damage can be done the op- 
ponent by permitting him to clinch you around 

29 



the neck, and you to devote both arms to de- 
livering punches in the stomach. 

If to protect yourself from the assaults of a 
stronger or more careful scientific opponent, 
you should find it necessary to clinch, try to 
grasp the arms and not your opponent's body, 
include his arms if you possibly can as you 
clinch. You can easily find his arms by run- 
ning your hands from the shoulders down the 
sides quickly grasping his arms with his body, 
or his arms alone together as his hands are the 
weapons of offence and no other part of his 
body is permitted to be used in boxing as we 
know. So, bear in mind that it is essential to 
stop his hands from acting. Those hands can 
only be stopped by pinning his arms or hands 
to your opponent's sides. That is a very valu- 
able point on clinching. 

Another method of clinching, one which 
was employed by Johnson when he fought 
Jeffries was to grasp the opponent's biceps, 
holding both biceps in both of his hands; the 
opponent's left bicep with your right hand and 
his right bicep with your left hand, and when 



30 





Fig. 25. // you find it necessary to clinch, grasp the arms of your opponent. 

he attempts to strike, just pushing them back, 
(as in Fig. 25). If the rule of the contest per- 
mits hitting in the break-away, as the opponent 
breaks away, either hand can be easily con- 
verted into an upper-cut, making it a very ef- 
fective punch. 



31 



Sixth lesson — T^aily Exercise 

The Sixth Lesson winds up the preliminary 
course of boxing instructions as given by this 
Association, and is devoted to a method of ex- 
ercising which will consume only five minutes 
of your time each morning, and which if con- 
scientiously and faithfully performed will 
keep one as strong as a trained gymnast or 
athlete for the remainder of his days, if he live 
to be a hundred years old. Not straining any 
muscle of the body, overtaxing the heart or 
any of the vital organs of the body, or either 
over-developing the lungs. If the lungs be 
over-developed in a man of sedentary habits, 
it does not conduce to good health, as there is 
a certain amount of dead tissue in the lungs 
that the respiration cannot take care of if those 
organs be over-developed. 

One of the safe rules of life with regard to 
health is to be normal ; use common sense ; be 
moderate and temperate, with regard to every- 
thing — including exercise and other pastimes. 

Note — The pupil may consider when first reading these exer- 
cises that they might be too strenuous or consume too long a time. 
They will take only five minutes actual timing, if the chinning be 
done 8 times; back and front bridging done 50 times; the dipping 
done 8 times; the foot work 50 times, leg work 25 times by each 
leg, and with regard to it being too strenuous, that can be regu- 
lated according to the strength of the person employing this method. 

32 



First Exercise 
Have a carpenter put a bar in the doorway 
of your closet where you can reach it. It will 
be inexpensive. You can put it there yourself. 
With the idea of chinning yourself, that is 
drawing the weight of your body from the 
floor with your arms, bringing your chin up to 
your hands which are grasping the bar as high 
as they can reach. Continue this exercise a 
convenient number of times. If not at first 
used to it, be careful about straining. If you 
find that you can not even chin yourself once, 
merely take hold of the bar and draw your 
weight from the floor as far as you can with- 
out overstraining. Again resting on the floor, 
continue this motion as long as you like each 
morning. 

This exercise strengthens the biceps; mus- 
cles in the back, and in the waist, and is ex- 
ceedingly good for what is known as a corpor- 
ation or an extended stomach. It strengthens 
the walls of the abdomen and aids the pupil to 
hold himself as a man should, with chest out 
and stomach in. Chinning should never be 
done more than eight times at a time, unless a 
man be very expert, but even then he should 
not over extend himself. 

33 





Fig. 26. Bridging. Lie flat on your back. Raise weight of body by 
throwing the chin up in the air. 




Fig. 27. Lower body again till the shoulders touch the floor; then raise 
it again. 

34 



Bridging' 
Select a bed with a fairly hard mattress or a 
lounge or a couch, or a pillow could be placed 
on the floor giving a comfortable place for the 
head to rest. Lie flat on your back. Raise the 
weight of your body from the bed or floor by 
means of throwing the chin up in the air, (as 
in Figs. 26 and 27) . The hands can be placed 
either at the waist or on both sides of the jaw. 
Lower your body again so that the shoulders 
touch the bed or floor and then raise it again. 
This is called bridging and is known to wrest- 
lers. You will find that when the weight of 
your body is raised from the bed or floor that 
the only points of contact will be the back of 
your head and your heels or the sides of your 
feet. 



Note — This exercise increases the strength of the neck and the 
muscles of the back tremendously. It is most essential for a man 
to have a strong neck. 

The writer performs this exercise 50 times every morning and 
finds it most beneficial. He would suggest commencing this exer- 
cise very gradually, working up to a convenient number of times 
with the utmost caution, as these muscles are seldom used by any- 
one except wrestlers, and are consequently not strong and easily 
strained which will render them very sore. So be careful about 
over exercising in this manner. 

35 




Fig. 28. Front Bridging. Turn on the stomach. Place forehead on the 
pillow or mattress with toes up against the wall. Raise weight of body, 
allowing only the point of contact of your forehead and toes to support 
weight. 




Fig. 29. Lower body until stomach touches floor, then raise again. 

36 



Front Bridging 
Turn on the stomach, place your forehead 
on the pillow or mattress with your toes up 
against the bottom of the bed or the wall (if per- 
forming this exercise on the floor), (as in Fig. 
28). Raise the weight of your body from the 
floor or the bed allowing only the point of con- 
tact of your forehead and your toes to support 
your body (as in Fig. 29). Permit the weight 
of your body to be lowered until the stomach 
touches the bed or the floor and then raise it 
again in manner described. Hands behind the 
back. This will cause the front muscles of the 
neck and the front part of the body to be well 
tensioned, and will strengthen the muscles of 
the abdomen and neck wonderfully. 



Note — We believe this to be one of the most beneficial exercises 
for reducing fat around the stomach. Execute this exercise a suffi- 
cient number of times. It can be performed as many as 50 times 
when one becomes fairly expert. 



37 




Fig. 30. Dipping. Raise feet from the floor and lower the weight of the 
body by means of bending the arms until knees touch the floor. 




Fig. 31. Then raise your body until your arms are extended fully, draw- 
ing knees up as high as possible. Continue motion. 

38 



Dipping 
Take a stout chair, and a bureau or the foot- 
board of a bed and a chair or a bureau. Bring 
them together so that you can stand comfort- 
ably between them with your hands at your 
sides, touching the chair and the bureau. Now, 
place your hands upon them, raise your feet 
from the floor (as in Fig. 30), and lower the 
weight of the body by means of bending the 
arms until your knees touch the floor (as in 
Fig- 31). Then raise your body until your 
arms are extended fully, drawing your knees 
up as high as you can. Continue this motion, 
but not more than eight times at a period. 

If a pupil be not able to perform this act of 
dipping at first as it is a difficult thing to do, 
let him retain his feet on the ground, permit- 
ting as much weight of the body to go on the 
arms as he wishes and after having done this 
moderated dipping for a certain length of time, 
he will find eventually that he will be able to 
raise his feet from the floor and will easily per- 
form the full act of dipping. 



Note — Dipping strengthens the tri-ceps, the breast muscles and 
the shoulder muscles in a wonderful manner, and increases the 
power of hitting very markedly. 

39 




Fig. 32. Come down on the outside of the foot in a rolling motion. This 
strengthens the insteps. 

Foot Exercise 

Stand erect, feet together, raising the body 

on the toes (as in Fig. 32), and permitting it 

to come down gently on the outside of the feet 

giving a sort of a rolling motion of the feet. 

This exercise can be done 50 times or less if 
found too strenuous. 



Note — This will markably increase the strength of the instep 
and will be a great aid to prevent falling arches. This exercise 
should never be neglected as many people are afflicted with weak- 
ened insteps especially they who have to walk a considerable dis- 
tance on the hard pavements of the city. 

40 




Fig. 33. Leg exercise. Twenty-five times for each leg. You can use one 
hand against wall or bath tub. 

Leg Exercise 
Standing between two chairs or a chair and 
the bed with the fingers extended on the chair 
and on the bed in order to maintain the bal- 
ance, raise the right foot from the floor and 
bending the knee of the left foot, lower the 
body as far as possible (as in Fig. 33), and 
then raise the body by the straightening of the 
left leg, a convenient number of times. Now 
alternate. We would suggest 25 times for each 
leg. 

The results of this exercise if faithfully per- 
formed every morning will be very noticeable. 
It makes one exceedingly quick on his feet. 

41 



Shadow Boxing 

Take your stand before a mirror in the posi- 
tion of boxer; left foot forward; left hand for- 
ward with right hand in the position of guard- 
ing (always open, and in position so that you 
will just look over the top of the fingers). 
(See Fig. 34). It is best to hold the right 
guard high and a trifle away from the body, 
so that you will be in a position to stop a quick 
left hand jab or left half swing. Keep your 
elbows in close to your sides. See that your 
weight is principally upon the left foot; the 
right foot resting upon its ball, and comfort- 
ably placed to the rear of the left foot, so that 
you may easily maintain your balance. Keep 
your chin drawn in. Watch yourself very 
carefully in the mirror and go through the 
following movements: 

The first round consists of five blows : 

Left for nose ; 

Left for stomach ; 

Left for jaw; 

Left for ribs (uppercut) ; 

Straight counter and corresponding guards. 



42 





Fig. 34. Left for Nose 



Fig. 35. Left for Stomach 



Entirely With Left Hand 
After feinting a few times, lead out with a 
few quick left hand jabs for the face of the 
opponent at about the same height of your 
face as reflected in the mirror. Repeat this 
movement a number of times till you are satis- 
fied that you are performing the movements 



43 





Fig. 36. Left for Jaiv 



scientifically. You will know this by the fol- 
lowing: 

Is your left elbow near your body? 

Is the palm of your left hand turned up so that the knuckles are 
on the diagonal ? 

Are you hitting with a twist of the waist as described in the 
first lesson of our course? 

// you do all of these you will be hitting sci- 
entifically. Do them! 

You can substitute one of the other lefts, for 

instance, left for stomach (Fig. 35), left for 

jaw (Fig. 36), and left for ribs (Fig. 37). 

44 



Second Movement 



As you hit with 
the left hand, guard 
with the right at the 
same time (as in 
Fig. 38). This is 
called the straight 
counter and is the 
safest blow that can 
be given in boxing; 
for the reason that 
you are guarding at 
the same time you 
are hitting. See that 
you guard scientif- 
ically. You will 
know this by the fol- 
lowing: 




Fig. 38. Straight Counter 



Is your right hand open ? 

Is the right elbow in ? 

Does your right hand get out in front quickly, so that you are? 
really guarding with the hand and not so much with the fore-arm? 

Is your right hand up, so that in guarding it reaches a higher 
level than the face? 

Is the palm of your right hand toward opponent? 

// you do all of these you will be guarding 
scientifically. Do them. 

Repeat this with one of first movements for 
a number of times, watching carefully your 

form in the mirror. 

45 







4 







Fig. 39. Right Guard 



Fig. 40. Left Guard 



Third Movement 
Alternate with the left lead and the right 
guard (as in Figs. 39 and 40). Keep your right 
guard going quite frequently, so that you will 
become used to the scientific motion and also 
hit out with the left hand so that the muscles 
of the arm will be exercised in the quick motion 
which is necessary for a good left hand hitter. 



46 




W1F' : ~ 



v. . . •■• , . 




t *2&i 



L^*, 



Fig. 41. Stomach Guard 



Fig. 42. Ribs Guard 



Fourth Movement 
Practice the stomach guard (Fig. 41) which 
will be found one of the most necessary guards 
of boxing. There are a number of ways to 
guard the stomach. The easiest and the best 
manner is to swing the left fore-arm over the 
pit of the stomach (as in Fig. 41). See that 
you do this guard properly. It is easy and it 
is most effective and quick. 



47 








'ms&ttr;** :"-•' *&& 



HH 



F^. 43. Right Block 



Fig. 44. Left Block 



Fifth and Sixth Movements 
Block alternately with right and left as in 

Figs. 43 and 44. 

Follow with right and left cuffs, as in Figs. 

45 and 46. 

Combination Movements 
Go at this exercise vigorously and quickly 
after you are thoroughly satisfied that you are 
performing the movements scientifically. 

Left lead ; 
Right guard ; 



Guard for the stomach ; 



48 





Fig. 45. Right Cuff 



Fig. 46. Left Cuff 



Combination Movements— Continued 

Left swing; 

Left jab; 

Left for the stomach ; 

Left upper cut; 

Block (guard for swing) ; 

Cuff with left and right; 

Feint (with knees) ; 

Side-step ; 

Move head from side to side— chin always drawn in and to one 

side (never expose left ear by turning head too far). 

Continue the exercise vigorously for two 
minutes. Go at it slowly at first to be certain 
you are making all movements scientifically. 
Then quicken the pace. Time ! 



49 



Second Round 

This round is to develop the right hand 
blows; use the straight counter with the left, 
however, as this is the most useful blow in 
boxing and the safest. 

Use Right Hand 

The second round consists of seven blows : 

Right for nose; 
Right for stomach ; 
Right for jaw; 
Right for ribs ; 
Straight-counter ; 
Cross-counter ; 
Cross-parry. 

Use all the guards, feints and foot-work as 
taught by us — follow the illustrations. 

Remember it is foot-work; foot-work; not 
leg- work. 

Don't let your feet get too far apart. Keep 
greater part of weight on left foot or equally 
divide weight between left and right foot. 

Move head and body in gliding motion, 
changing position of head and body very 
often. See your opponent in your imagina- 
tion — visualize him. It is not necessary to ex- 
ecute the blows in sequence — use your own 
judgment. 

Go at this round with vim, as shown by the 
illustrations. 

Do your best. Time ! ! 

50 





Fig. 47. Right for Nose 



Fig. 48. Right for Stomach 



Elbows always in. Hands always open when 
guarding. Blows always given with twist of 
waist. Weight forward on left foot. Chin in. 



51 




,', • .7 "\it\fSK* Ci 



t$$- '■■'•■ 




Fig. 49. Right for Jaw 



Fig. 50. Right for Ribs 



Don't neglect shadow boxing — do three 
rounds every morning. 





Fig. 51. Cross-Counter for Jaw 



Fig. 52. Cross-Parry for Stomach 



Keep chin down. Keep elbows in. Keep 
knuckles on diagonal. Hit with twist of waist. 



53 



Third Round 

This round consists of all the blows, guards 
and feints explained in the previous rounds, 
in company with eight combination blows 
used by prominent boxers and upon which 
they generally depended for victory. 

First combination. — Stanley Ketchel One-Two Blow. 
Second combination. — Eddie Nugent Cuff and Upper-cut with 
Left. 

Third combination. — Cuff and Upper-cut with Right. 

Fourth Combination. — Bennie Leonard Triple Blow. 

Fifth combination. — Mike Donovan Double Blow. 

Sixth combination. — Miske Twist. 

Seventh combination. — Fitzsimmons Shift. 

Eighth combination. — Jack Dempsey Triple Blow. 

Work all of these combination blows and 
wind up with a vigorous half minute or even 
minute of in-fighting. When in-fighting al- 
ways bring the right foot parallel with the 
left, obtaining a firm stance — knees slightly 
bent. Then hit out straight for nose, first with 
left and then with right as rapidly as possible 
(for a number of times). Change attack to 
stomach; then swing for jaw alternately with 
left and right and finish up with repeated 
upper-cuts, first left, then with right as quickly 
as possible. Time!!! 

Now you ought to be in fine fettle for your 
bath. 



54 





Fig. 53. "The Stanley Ketchel" 
One-Two Blow (First Part) 



Fig. 54. "The Stanley Ketchel' 
One-Two Blow (Second Part) 



The "Stanley Ketchel"- -A left jab followed 
quickly by a hard straight right for the jaw. 



55 





Fig. 55. "Eddie Nugent" 
Cuff and Left Upper-Cut 



Fig. 56. "Eddie Nugent" 
Cuff and Right Upper-Cut 



"Eddie Nugent" — Cuff left lead of oppo- 
nent with right hand and uppercut with left. 



56 





Fig. 57. "Bennie Leonard" Triple Blow Fig. 58. "Bennie Leonard" Triple Blou 
{First Part) {Second Part) 



Bennie Leonard Triple. — After jumping 
around on toes, or moving quickly, suddenly 
stop and walking up to opponent jab him a 
number of times in face with your left, follow- 
ing quickly with hard right for jaw. 



57 




Fig. 59. "Mike Donovan" Double Blow 
(First Part) 



Mike Donovan Double. — Lead for stomach 
with left; immediately run your extended left 
up opponent's body to chin, holding chin 
raised; then bring over a quick straight right 
for point of jaw. A knock-out blow. 



5S 




60. "Mike Donovan" Double Blow 
[Second Part) 




59 



Fig. 61. "Mike Donovan" Double Blow 
{Third Part) 



M'iske Twist. — Frequently one will become 
twisted around sideways to opponent. Throw- 
left hand open across the face, following im- 
mediately with straight right for jaw. 



60 




f. 62 "Miske Twist" (First Part) 




Fig. 63. "Miske Twist" [Second Part) 



61 




Fig. 64. "Fitzsimmons" Shift (First Part) 

Fitzsimmons Shift. — Make strong fake lead 
with left for face followed instantly by strong 
fake right lead for head, at same time bring- 
ing right foot forward from impetus of right 
blow; you will find your opponent's right 
hand raised to guard your ( fake ) left lead and 
his left raised to guard your fake right blow, 
immediately force your left into his stomach 
with crushing effect. This blow defeated 
Corbett. 



62 



\ j 




p ig. 65. "Fits sitnmons" Shift 
(Second Part) 




Fig. 66. "Fitz simmons" Shift 
(Third Part) 



63 




Fig. 67. "Jack Dempsey" Triple 'Blow 
(First Part) 



Jack Dempsey Triple. — As opponent leads 
left, slip head inside, sending your right to 
his stomach, then swinging your head under 
his extended left, whip your left to his stomach 
and immediately follow this up with hard right 
to jaw brought over his extended left. 



Wind up this round with 25 Straight Rights 
and Lefts for Nose ; 25 for Stomach ; 25 Swings 
for Jaw and 25 Upper-cuts. 



64 




58. "Jack Dempsey" Triple 'B/o-xv 
{Second Part) 










Fig. 69. "Jack Dempsey" Triple "Bloiv 
{Third Part) 



65 



Remarks on Third 'Round 
A great set of blows when well delivered. 
Practice these blows before a mirror every 
morning. You will find they will be deliv- 
ered automatically in a very short time. Keep 
at them. Shadow boxing should be done by 
men and women of all ages. Not only for the 
wonderful exercise but for personal prepared- 
ness. We cannot tell when the knowledge 
of the manly art of self-defense may save us 
and others from serious danger. Soldiers con- 
sider it essential to their training. In trench 
fighting the fists, our primitive weapons, are 
often the last resort. Be prepared. 

Note — Shadow boxing can be made the most healthful, inter- 
esting and useful of all exercises. It will give muscle that acts 
quickly to the command of the brain. Cat-like muscles, not hard, 
bunchy, knotty muscles are the best. 

Quick co-ordination of brain and muscle, which is most neces- 
sary, not only for the boxer and athlete, but also for every man. 
Many a life has been saved by the ability of a man or woman to 
act quickly under dangerous conditions, and, on the other hand, | 
many a life has been lost by the lack of orientation of the muscular 
system. 

Boxing has been shown to be identical with bayonet work. Box- 
ing is really the fundamental of all physical motion. A good boxer 
has a great advantage at any sport or activity. To have a solid 
defense and a crushing offense with the weapons nature gave us 
is to have a great advantage. It gives confidence and power. 

Alike Gibbons. — He depends greatly upon his foot work. He 
is very shifty with his feet, moving around almost flat-footed, but: 
in such a gliding motion and at the same time shifting his body 
from one side to the other, that it is very deceptive. He is called 
the Phantom in consequence of this trait. He has a wonderfully p 

66 



powerful left-hand jab and also swing. He, in addition, hits a 
sevy powerful blow with the right. He is exceedingly quick 
with both hands, nearly always starting his blows from where 
he fists are placed. In other words, he does not draw back and 
o telegraph his opponent that he is about to hit. He delivers his 
)low with a powerful follow-thru. This effect can be obtained 
f the boxer will turn around with his waist. 

Bennie Leonard. — He is probably the keenest thinker in the 
ing. He is figuring all the time he is facing an opponent how 
o meet his style. His characteristics are his foot-work and his 
ouble blows. He employs a number of double blows which are 
uzzling. His foot-work is clever and can be imitated with 
rofit. He bounces up and down on his toes with stretched-out 
gs. The legs seem to be held stiff, and he goes bouncing around 
he ring dancing on his toes. This will be found to be tiresome 
or a heavy man, but for a light-weight or a feather-weight in good 
rim it can be continued for some time. Even for a heavy man 
his motion of the foot-work will be found to be quite deceiving 
or the opponent. One can dance in and out, and can jab his left 
and into the face of the opponent a number of times without 
eceiving a return blow. When Leonard has his opponent 
onfused with his active left landing in his face, he will suddenly 
hip over his right with great force. 

The left upper-cut for the stomach is a favorite blow with 
,eonard. This is a very effective blow, and can easily be developed. 
Jack Dempsey.- — The distinguishing feature of Dempsey's work 
his pile-driver hitting ability. He can hit with either hand, 
nywhere, and do it without showing what's coming. He makes 
)lendid use of the duck and rolls his head well with opponent's 
lows to his face. He is one of the hardest fighters the ring has 
nown — he wastes no time in getting into action. It's a pleasure 
) see him fight. He is not as skilful as Corbett, Fitzsimmons 
id McCoy, but he doesn't have to be. 

Jim Corbett. — The principal blow Corbett has depended upon 
his left half-swing. He was the first one to introduce this blow 
the East. McCoy afterwards modified this left half-swing 
ito what has been called the Corkscrew blow. It is a very ef- 
ictive blow, and when properly delivered will land on the nose 
• jaw of the opponent with considerable force. Corbett com- 
etely wore out Sullivan at New Orleans, in their championship 
?ht, with this blow. Corbett holds his head in the most perfect 

67 



manner. He is the kingpin of the duck. Chin always in, he is 
ready to pull down the side of the head so that the approaching 
hlow will never land on his nose. He has never received a broken 
nose or a cauliflower ear. In fact, about all the top-notchers are 
free from those beauty spots. 

A cauliflower ear and a broken nose are not the sign of a good 
fighter; they are evidence that he is not a good fighter. If he had 
been a good fighter he would not have been so careless. 

The left half-swing is delivered so that the index knuckle of the 
left hand lands on the jaw or the nose of the opponent. The left 
hand is turned when the blow is being delivered so that the palm 
is down and the knuckle of the index or first finger strikes the 
opponent. 

When you find that your opponent is very quick, especially with 
the left-hand jab, crouch over to the right, with the left hand 
ready to do most of the work. As you time him for the lead, swing 
your left hand for his jaw, keeping your right so that you can 
guard any upper-cut either for your head or stomach. Should an 
opponent stand with the right hand and the right foot fonvard, 
never use a straight left-hand lead. Always swing your left, or, 
holding your left to guard his right, hit him with your right hand. 
If you will confine your attack to these two movements you will 
have him completely at your mercy. 

Watch yourself very carefully in the mirror. Sec that you are 
getting the correct form. Proper style is the necessary thing- to 
have. It means power with the least effort expended. 



68 



The "Blows 

There are only eight blows: Four with the left hand and four 
with the right. Nose, stomach, jaw and ribs (or upper-cut) with 
the left hand, and the same with the right. Every blow in sparring 
is either one of these blows or a modification of them. Nose: 
straight left-hand lead. Stomach: straight left lead for the stom- 
ach. Jaw: a swinging blow with the left hand for the point of 
the jaw. Ribs: an upper-cut with the left hand for the ribs. Those 
are the four blows with the left hand and the same with the right. 

The Guards 

There are only eight guards: four with the left hand and four 
with the right. Left guard, stomach guard (with the left), left 
block, left cuff. Right guard, ribs guard (with the right), right 
block, right cuff. 

The guard for the ribs is executed by bringing the right fore- 
arm down quickly, covering the ribs on the right side. It will 
be found best to perform this guard with the right forearm 
almost parallel with the body. It must not be done like the guard 
for the stomach, with the forearm swung across the body, for this 
will leave the head exposed. 

The cuff is executed by either hand being pushed in the opposite 
direction across the body in front of the face, catching the blow 
when very near the face. 

Practice shadow sparring. It will make you fast and skillful, 
and will work wonders. Bennie Leonard is the most expert shadow 
sparrer in the ring. He attributes his consummate skill to the 
intense practicing of this exercise. 

Never let your weight rest on the right foot. Have it either* 
evenly divided or mostly on the left foot. The left foot should' 1 
be flat on the ground most of the time. 



69 



Eight bone-breaking holds and 
releases (Jiu Jitsu) 




Fig. 70. The Wrist-Release {First Part) 

1st. When opponent grasps your wrist. — 
Swing your arm in a circle, always against the 
thumb. A woman can release the grip of a 
man by this motion. 



70 




Fig. 71. The Wrist-Release {Second Part) 




Fig. 72. The Wrist-Release (Third Part) 



71 



2nd. When opponent grasps your throat. — 
With two fingers of your left hand (should 
your throat be gripped by the right hand) in- 
serted, so that they grasp the little finger of the 
opponent's right hand, you can bend back the 
little finger (or any finger), and even break 
the finger if you give it a sudden jerk and per- 
sist in following up your advantage. Should 
an opponent have you on your back with his 
hand on your throat you can force him to get 
off and release his hold by persistently forcing 
the captured finger back against the back of 
his hand. Break his finger if necessary. 



72 




Fig. 73. The Throat-Release {First Part) 




Fig. 74. The Throat-Release (Second Part) 



73 



3rd. When opponent presents a pistol to 
shoots — At the instant his hand is extended 
cuff it away with the hand on the side of his 
pistol hand; if he draws the pistol with the 
right hand cuff it away with your left. Cuff 
it away and hold it as far out and away from 
you as possible with your left hand, at the 
same time bringing your other (right) hand 
up and firmly grasping the opponent's hand 
with both of yours; twist it away from you so 
that he will release his hold on the pistol. 
Should you wish to break the arm continue 
to twist the hand. In twisting be sure you 
do not turn the pistol toward you. 

Another pistol release — Grasp opponent's 
wrist with left hand and bend hand holding 
pistol toward opponent's body until pain forces 
him to release pistol. 



74 




Fig. 75. Disarm (Pistol) — (First Part) 




Fig. 76. Disarm (Pistol) — (Second Part) 



7.S 



\th. When opponent attempts to hit with 
club or raises fist or dagger. — At the instant 
his arm is raised grasp the wrist with your 
hand which is on the same side and, forcing it 
back, reach well up under the arm with your 
free hand and grip the opponent's hand so that 
you can force it and break the arm if necessary. 
Be very careful when trying this with a friend ; 
otheiwise you will break his arm before you 
can realize it. 



76 




Fig. 77. Disarm [Dagger or Club) — (First Fart) 




Fig. 78. Disarm (Dagger or Club) 
[Second Part) 



77 




Fig. 79. Guard from Kick (First Part) 




Fig. 80. Guard from Kick (Second Part) 

§th. IF hen opponent attempts to kick. — 
At the instant he starts the kick cross your 
arms in front of you and grasp his leg as it hits 
against your arms. 



78 





Fig. 81. Release Neck Hold 
{First Part) 



Fig. 82. Release Neck Hold 
{Second Part) 



6th. To release hold of arms around neck 
from the front. — Raise your arms behind your 
opponent's back and placing them upon his 
forehead force his head back. If done quickly 
it will be very liable to break the neck of the 
opponent. So be careful. 



79 





Release Waist Hold {First Part) Fig. 84. Release Waist Hold {Second Pi 

7th. To release waist hold from the front. — 
Should your opponent not only grasp you 
around the waist from the front, but also force 
his face down on to your shoulder, with your 
two thumbs placed in the socket of the eyes, 
just above the eyeballs, you can force your 
opponent's head up by pressing against a 
nerve which is located in that region. When 
you have his head sufficiently elevated, put 
one hand either under his chin or his nose and 
force his head back so that he will be com- 
pelled to release his hold on your waist. Move- 
ments must be quick and executed with force. 

80 




Fig. 85. Throw Backwards Overhead 

8th. Falling with foot in the pit of the stom- 
ach of the opponent and throwing him over 
your head. — The usefulness of this hold might 
seldom occur. Grasp the opponent by the 
lapels of the coat (or grasp both wrists) and 
falling over backwards pull him with you un- 
til you are about to hit the ground, then place 
your foot in the pit of his stomach and throw 
him over your head. 



81 



Eight holds in 
standing wrestling 




\» m 




Fig. 86. Head and Cross-Buttock 
{First Part) 



Fig. 87. Head and Cross-Buttock 
(Second Part) 



1st. Head and cross-buttock. — Grasp the 
right wrist of the opponent with your left 
hand, and pulling it close to your left side slip 
your right arm around his neck, throwing your 
right hip to the side of his right hip, and then 
force him over your hip by turning around and 
down well toward your left. 



82 



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>4rw a»</ Cross-Buttock 
(First Part) 



Fig. 89. /4rm a«</ Cross-Buttock 
{Second Part) 



2nd. Arm and cross-buttock. — Grasp the 
right wrist of the opponent with your left hand 
and pulling it close to your left side, place 
your right hand under the arm pit of your 
opponent's right arm, and hugging it closely 
to your side turn well around and down to your 
left, thereby forcing your opponent to fall over 
your right hip, which must be behind his right 
hip. 



83 



3rd. Rolling with arm of opponent. — 
Should the opponent place his hand upon 
your shoulder, immediately hold it there with 
the right hand, which is on the same side of 
his hand (if his right hand, then hold with 
your left) and turning very rapidly swing 
your free arm over his head and keep on turn- 
ing your body. Both of your hands should be 
grasping the arm of the opponent. The arm 
which you have thrown over the opponent's 
head should lock the arm of the opponent 
which you are grasping. 



S4 




Fig. 90. Roll with Arm (First Part) 




Fig. 91. Roll with Arm [Second Part) 



85 



4-/A. Crotch hold with arm under chin. — 
Grasp the opponent under the crotch from in 
front and, placing the other arm across the 
neck in front of the body, rest the hand on the 
opposite shoulder, then pull up with the hand 
which is under the crotch, at the same time 
forcing backwards with the arm in front of 
the neck. 



86 




Fig. 92. Crotch Hold with Arm Under 
Chin (First Part) 




Fig. 93. Crotch Hold with Arm Under 

Chin [Second I'urt) 



87 




Fig. 94. Head in Chancery and Bar 
Hold (First Part) 

§th. Head in chancery and bar hold. — 
Should the opponent lean forward with the 
head somewhat down, place your right hand 
on the back of the opponent's head and bring 
him forward, forcing his head under your left 
arm. Then slip your right under his left arm 
and over his back. If possible get your right 
shoulder under his left arm pit, and then force 
him over. Should your opponent place his 
right hand on your left knee, simply kneel 
down with that knee, and continue to force 
him over and down. Keep firm hold of head 
with left arm. This is a remarkablv effective 
hold. 

88 




Fig. 95. Head in Chancery and Bat- 
Hold (Second Part, Side View) 




89 



Fig. %. Head in Chancery and Bar 
Hold (Second Part, Hack View) 



6th. When in the position that wrestlers 
generally assume, with right hand on back of 
neck of opponent and left hand grasping his 
right elbow with your head on his right collar- 
bone and your right elbow planted firmly on 
his breast. — Suddenly lift his right elbow so 
that you can slide your head under and at the 
same time slipping your right hand from his 
neck to the back of his left arm and then reach- 
ing down grasp his right leg about the knee 
and then lift your opponent and turn him over 
and fall upon him. 

When holding an opponent down on his 
back always bear as much weight forward on 
his shoulders as possible. Do not rest your 
weight on his chest or stomach. 



90 




97. Right hand on neck, left hand on 
v. Slip under elbow and grasp near leg 
and far arm. (First Part) 







Fig. 98. Right hand on neck, left hand on 

elbow. Slip under elbozv and grasp near leg 

and far arm (Second Part) 



91 





Fig. 99. Throw Man Grasping From 
Behind {First Part) 



Fig. 100. Throw Man Grasping Front 
Behind {Second Part) 



jth. To throw an opponent grasping from 
behind.— If you can not release the grip by 
securing one of his fingers and bending it 
backward (which is the proper way should a 
person grasp you around the neck from be- 
hind, either on the land or in the water), then 
grasp the arms and holding them close to your 
body twist your body to the left and down- 
ward, forcing the opponent to the ground over 
your head. 



92 




Fig. 101. Back Heel with Rig/it Foot and Grip Opponent's Right L( 

{First Part) 




Fig. 102. Back Heel with Right Foot and Grasp Opponent's Right Leg 

(Second Part) 



8th. Back heel and grip other leg. — This 
hold is useful should you find your opponent 
has come upon you unawares from above you. 
Place your heel (right) behind his left heel, 
and grasping his other leg about the knee 
force him backwards by shoving your weight 



93 



with your right shoulder against his body. 
Your head will be down at about his waist line. 

These holds, as given by The Marshall Still- 
man Association, are some of the most useful, 
effective and simple holds known to experts. 

Practice them carefully and frequently, and 
you will find that you will be able to hold your 
own against many experts. They will be in- 
valuable if suddenly attacked and it should be 
necessary to use them. 



H32 75 541. 



94 





















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